What arguments does Toril Moi use to warn against creating a separate canon of women's texts, rather than looking at sexual differences?

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Literary critic and theorist Toril Moi presents her main arguments in her theoretical study and critical analysis titled Sexual/Textual Politics: Feminist Literary Theory, originally published in 1985 and republished in 2002. In it, she argues feminist theory, which is, essentially, her area of expertise, and focuses mainly on women's writings and writers from Europe (Britain and France) and America.

Moi writes about the clash and the connection between two major feminist branches: the empirical Anglo-American feminist criticism and the French feminist theory. She analyzes the humanistic approach of American writers and activists such as Kate Millett and Elaine Showalter and the politically neutral, philosophical point of view of French feminist theorists, critics, and writers such as Julia Kristeva, Luce Irigaray, and Simone de Beauvoir.

She respectfully criticizes the French approach, claiming that criticism cannot be neutral, passive, and apolitical. Having a "neutral" stance only further entrenches the lack of well-structured and authentic feminist theory as well as criticism of gender inequality and the patriarchy. However, she also mentions that the humanist perspective of the Anglo-American theorists, critics, and writers might be perceived as weak and delicate. Additionally, she explores the concepts of male and female relations and ideology, sexual orientation, essentialism, and existentialism, as well as gynocriticism and the representation (or rather misrepresentation) of women in literary works predominantly written by men. Moi demands a social and literary reform and indirectly proposes a symbiosis of the two feminist branches, hoping for a world "beyond the opposition feminine/masculine, beyond homosexuality and heterosexuality."

Regarding this, author Jean Radford published her 1986 Feminist Review in which she discusses the context of Sexual/Textual Politics, writing,

When 'Images of Women' gives way to a women-centred approach, the rediscovery of 'the lost continent of women's writing', as Elaine Showalter puts it in A Literature of Their Own, Moi is equally sharp about the dangers of creating a separate canon of women's texts rather than looking at the problem of sexual difference at both textual and institutional levels.

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